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Mark Rylance picks up first 2014 Tony Award

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WENN.com
Jun 08, 2014

British thespian Mark Rylance has beaten Twelfth Night castmates Stephen Fry and Paul Chahidi to pick up the first Tony Award at Sunday night's (08Jun14) ceremony in New York. The actor has scored his third Tony by picking up the Best Performance by an Actor in a Featured Role in a Play prize and took the stage at Radio City Music Hall, where he honoured actor Sam Wanamaker who was blacklisted during Hollywood's Joseph McCarthy communist witch hunt era in the 1950s.
Wanamaker fled to the U.K., where he "gave the last 25 years of his life" rebuilding William Shakespeare's The Globe theatre.
Rylance, who is also nominated for a Lead Actor in a Play Tony, said, "We are children of Sam Wanamaker's vision."
Twelfth Night is one of Shakespeare's most beloved plays.

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Breaking Bad star Bryan Cranston is celebrating two nominations for the 2014 Directors Guild of America Awards. The multiple Emmy winner received nods in both the comedy and drama categories for the 66th annual prizegiving.
Cranston, who played drug kingpin Walter White on Breaking Bad, was nominated for outstanding directorial achievement in a dramatic series for the episode Blood Money, as well as outstanding directorial achievement in a comedy series for the Modern Family episode The Old Man & The Tree.
Cranston will be up against Breaking Bad creator and executive producer Vince Gilligan for his work on the series finale, Felina, in the drama category, along with David Fincher for House of Cards, Lesli Linka Glatter for Homeland and David Nutter for Game of Thrones.
In the comedy category, the actor will face off against fellow Modern Family director Gail Mancuso, Anthony Rich and Mark Cendrowski for The Big Bang Theory and Beth McCarthy-Miller for 30 Rock's series finale.
McCarthy-Miller nabbed another nomination in the movies for television and miniseries category for her work in The Sound of Music Live!, along with Rob Ashford. They are up against Stephen Frears for Muhammad Ali's Greatest Fight, David Mamet for Phil Spector, Nelson McCormick for Killing Kennedy, and Steven Soderbergh for Behind the Candelabra.
The winners will be announced at the DGA Awards ceremony on 25 January (14).

Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Because we can never have too many award shows, a night honoring solely comedy is heading back to TV next year. According to The Hollywood Reporter, NBC has opted to reboot the American Comedy Awards, which will air in May 2014.
The Comedy Awards, which originally aired from 1987 to 2001, will be executive produced by Don Mischer, Charlie Haykel, and Juliane Hare and honor achievements in film, television, and stand-up comedy. Considering that Mischer is a 15-time Emmy winner and has past experience directing/producing the Olympics Opening Ceremony, the Academy Awards, and the Super Bowl halftime show, it looks like we'll be in for quite the production.
"We all love a good laugh and the American Comedy Awards will be full of gut-busting material from the best comedians in our business," said Paul Telegdy (president of alternative and late-night programming at NBC), according to THR. "With creative genius Don Mischer at the helm, get ready for a night of great hilarity. No joke."
While we all know that the best part of the show will probably be the live entertainment from the comedians themselves (we're looking at you, Tina Fey and Amy Poehler), we thought we'd go ahead and decide who we think will take home "the Lucy" (the award, which is named after Lucille Ball). Based off of the categories from the 2001 ballot and on the shows/movies that have aired since May 2013 until now, here are a few of our picks for winners:
Funniest Motion Picture This Is the End: While The Heat would definitely be a contender, This Is the End received positive attention. The film is overflowing with comedy stars, and the premise is more than laugh-worthy. However, there's a lot more time before the award show actually airs, and we're fully expecting that another comedy will edge its way into victory.
Funniest Female Performer in a Motion PictureMelissa McCarthy: Because we don't want to leave The Heat hanging, we're thinking McCarthy should probably take home "the Lucy" for best female performer in a movie. Since making her mark in Bridesmaids (even though she starred in several TV shows before the movie came out), McCarthy has shown us what she's made of, and apparently, it's a big ol' pile of funny bones.
Funniest Television SeriesLouie: If we're basing the winner off of what voters usually choose, Louie would probably take home the award. However, we'd be more than happy to see a cult-favorite like Arrested Development, It's Always Sunny in Philadelphia, or Community win.
Funniest Female Performer in a TV Series (Leading Role) Amy Poehler: Yes, there are many funny women starring in comedies right now, but it's time for Poehler to take home an award for her performance as Leslie Knope in Parks and Recreation. She has taken the role of a neurotic councilwoman and turned her into a empowering and loveable woman who we root for on a weekly basis.
Funniest Male Performer in a TV Series (Leading Role) Andre Braugher: Brooklyn Nine-Nine might be the new kid in class this time around, but Braugher has proved he's up to the task of playing the gay, stern captain (who's mastered dead-pan comedy) to Andy Samberg's juvenile detective. Sure Louis C.K., Jimmy Fallon, and Stephen Colbert are comedy gold, but we're seriously hoping Braugher gets some attention at the award show.
Funniest Female Stand-Up ComicChelsea Peretti: Before she had a supporting role in Brooklyn Nine-Nine and before she was a writer for Parks and Recreation, Peretti took off as a stand-up comedian. We've still got our eyes on Amy Schumer and Kristen Schall, but there's just something about Peretti that makes us want to hand her all of the awards.
Funniest Male Stand-Up ComicUndecided: This category just has way too many contenders and we simply can't decide between anyone. We don't even know who would be the top five nominees. If we had to guess who would make the ballot, we'd have to go with Louis C.K., Aziz Ansari, Kevin Hart, Marc Maron, and Bill Burr, but seeing as how the last time this show aired was 13 years ago, we don't really know what kind of comedians are going to be nominated.
Now, who knows how things will pan out (or who will have a standout performance) between now and May 2014, but we can only hope that the American Comedy Awards will come back in full force and do justice to the world of comedy, and more importantly, include some categories for writers because... come on.
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What do you do when a group of 17 actors, choreographers, screenwriters, and circus performers want to take a turn at directing? Let them all do it at once, of course!
The Turning, an adaption of Australian author Tim Tinton's eponymous novel, is an interconnected collection of 17 short storie,s starring Australian actors Hugo Weaving, Rose Byrne, and Miranda Otto. Many of the storylines are interweaved to create a central plot-line relationship surrounding a young woman and her abusive husband living in a trailer park, although the trailer seems to hint at much more than that.
Keeping with the Down Under theme, mate, Australian actresses Cate Blanchett and Mia Wasikowska make their directiorial debuts with the film, joining a team of 15 other Australian directors: David Wenham, Benedict Andrews, Jonathan auf der Heide, Tony Ayres, Shaun Gladwell, Rhys Graham, Justin Kurzel, Ian Meadows, Yaron Lifschitz, Claire McCarthy, Ashlee Page and Stephen Page.
In an interview with SBS Film, producer Robert Connolly revealed that some of the directors will tell their story in a traditional way, while others will take an experimental approach. He also disclosed that a few of the directors wrote their own scripts. Huh... why does this remind me so much of a school project?
Wrapping up production on The Turning, which will premiere at the Melbourne International Film Festival in late July, Blanchett and Wasikowska will work together again as lovers in the upcoming drama Carol. Take a look at the powerful teaser trailer and see if you can make sense of the plot (because we can't).
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This week’s edition of Leanne’s Spoiler List features five fanstastic shows that will make you giggle with excitement and gasp from all the amazing moments that will soon flood your TV screens. Let's get right into it and talk some trash about the season finales of Arrow and Psych, a great guest spot on The Middle, the premiere of Baby Daddy, and everyone's favorite serial killer drama Hannibal (well, at least until The Following comes back).
1. Arrow: Holy S**tballs!
This season on Arrow it's been one crazy roller coaster ride of awesomeness, and when the finale airs tonight be prepared to for your jaw to hit the floor and your heart to skip a beat. Star Stephen Amell — a.k.a. the world’s most wonderful human — promised me that we’re going to get a lot of character shifts in tonight’s episode, entitled “Sacrifice.”
“The neat thing about the finale is that so much of this season has just been with people with facades,” Amell explains. “Towards the last two episodes, all of those just melt away because danger is so perilously close. We get to see characters interacting in a way that they haven’t all season.”
Emily Bett Rickards, the amazing girl behind Team Arrow's IT expert Felicity Smoak, promises tonight’s hour is going to be even more action-packed than what we've seen so far... and who would have thought that was even possible? "It’s bigger than you can imagine. I don’t think I breathed [while] reading the script,"Rickards says with a smile. "There is so much going on...It’s exhausting. I hope you all sleep well after watching it." Nope. We’ll be too busy tweeting about it!
Rickards has been promoted to series regular for Season 2, so what can we expect to see from Felicity next year? "I expect to learn more about her outside lair life," Rickards predicts. "I think as a regular you have to see more of her as opposed to just being in the lair. She probably doesn’t leave the computer too often, but maybe she’s working out now, maybe she’s going on a few runs in her free time. She’s got to stay fit somehow!"
I’m currently doing a happy dance right now — and you should be too! Why? Well the fact that Rickards is coming back next season means that she survives tonight’s finale! Unfortunately, one character will not be so lucky. I know for a fact that one of our beloved Starling City residents is going to die in tonight’s finale, and while I cannot tell you who it is, I can leave you with these vague and ominous words from Stephen Amell: “Really crazy stuff is happening and no one is ever safe.”
2.Psych: A Game-Changing Finale
Hmm… I’m sensing that you would like me to give you some Psych spoilers from the show's Season 7 finale. So here goes! In two weeks — that’d be May 29 for all those without a calendar or simple mathematical skills — Psych’s season finale, “No Trout About It,” will see a new case alter the series as we know it.
This episode has everything! Murder, intrigue, new characters, snow cones, a high-speed chase, Shawn’s dad hitting on some random lady, and a member of the Brat Pack! That’s right Weird Science fans, '80s star Anthony Michael Hall guest stars in the finale as Harris Trout, an impeccably dressed yet extremely eccentric police consultant who is recruited by the mayor to help make the SBPD run more efficiently.
Believe me when I say this is one extremely odd fella — and that’s saying a lot since we’re talking about Psych, the leader in quirky TV characters. Fun fact: Hall’s appearance on the comedy makes him the the fourth member of the big screen’s “Brat Pack” to appear on Psych, following in the footsteps of Molly Ringwald, Ally Sheedy, and Judd Nelson. Aww! All we need is Emilio Estevez and we’ll have the entire Breakfast Club as Psych alums!
Anyway, back to the episode. Shawn and Gus are called in to investigate a very special case involving the murder of a man who isn’t even dead yet. The victim has actually been poisoned and he comes to our dynamic duo for help on finding his killer — but of course things are not always what they seem and there are plenty of twists and turns along the way. I’ll leave you with this little nugget: This season ends on a huger than huge cliffhanger and the entire premise of the series could forever be changed. Dun dun duuuun!
3.Baby Daddy: A Change of Heart
Confession: I think ABC Family's Baby Daddy is hilarious. It’s quick-paced, filled with fun yet relatable characters, and features a baby that doesn’t talk (Lily from Modern Family is my nightmare).
Here’s what you can get excited for in Season 2 – which premieres Wednesday, May 29 bee tee dubs: Ben is kinda, sorta, totally into Riley, Riley is still super into Ben, Danny is dating a Russian supermodel, and Tucker’s dance moves have never been better. Oh, and Bonnie uses Emma as baby bait to hit on a man — but what else is new?
Throughout the Season 2 premiere, Ben is desperately trying to prove to Riley that he’s not “that guy” but unfortunately actions speak louder than words. Let’s just say that by the end of the second episode, there’s not one but three guys vying for Riley’s heart.
Luckily I will be having lunch with the cast next week so feel free to hit me up on Twitter and I will pass along all of your burning Baby Daddy questions!
4. Hannibal: Fit For a Fiddle
Fannibals will find Thursday night’s newest installment of Hannibal to be music to their ears. The episode, titled "Fromage," is anything but cheesy. Now, cheese may be everyone’s favorite thing (I’d like to think that’s a scientific fact), but everything is far from gouda in the lives of Will and Hannibal (sorry about the lame cheese pun).
First up, sexual tension is mounting between Will and a certain potential paramour and many questions will be addressed. Will there finally be a lip-lock between these two? And if so, how will it affect their friendship? The whole thing will have certain folks jumping for joy while others will worry about the potential fallout.
But keep in mind that Will isn’t the only one with secret admirers — Hannibal has one as well! Food for thought: Murderpeople are quite curious with the way they exchange secret messages. This week’s serial killer is fascinatingly grotesque and focuses on the one thing we know Hannibal respects above all: the arts. Also, a character we've known since the pilot will be fall victim to music's sweet sound.
But don’t get so baroque-n up about it (now a bad music pun), because the developments that follow the not-so-shocking-but-also-yes-totally-shocking death will lead the bromantical relationship between Hannibal and Will down a different path. All the mind games and manipulation have reached a breaking point, and there’s no way all of this can be wrapped up neatly with a bow. At least Will’s seemingly deteriorating mental state will make sure of that. Oh, and bonus points if you can spot the reference to Buffalo Bill from Silence of the Lambs in this episode!
5.The Middle: Jack is Back!
When we bid adieu to 30 Rock earlier this year, it was a difficult time because I’ve absolutely adored seeing sweet-as-pie Kenneth on my TV screen each and every week. So you can imagine my excitement when I learned that Jack McBrayer would be guest starring on one of my favorite comedies: The Middle!
I had the extreme pleasure of chatting with McBrayer in anticipation of his hilarious role in tonight’s episode, “The Ditch,” and to answer your question: Yes, he is just as delightful as you would hope — and so is his new character. “I play dentist Dr. Goodman. He hires Frankie to work in his office and he’s kind of like a big man-child,” McBrayer says with a laugh.
Since McBrayer will be playing a dentist tonight, I made sure to ask him if he took and extra measures to make sure his chompers would be pearly white on camera. The actor exclaimed, “Why of course, Leanne! My teeth are like my bread and butter. They’re so big, so you can bet I made sure they were sparkling before I came to set.”
Just like Kenneth, Dr. Goodman is what we’d call a people-pleaser. McBrayer explains, “He’s not really one for confrontation so Frankie’s at times overbearing and mothering personality kind of pushes him over in the office.” Well, that’s a bit of an understatement! When Frankie alludes to a line full of people that she’s a doctor, she tries to keep up the charade and take charge of Dr. Goodman when one of the people she fibbed to shows up at the office. Yikes!
McBrayer’s character is very similar to his 30 Rock alter ego, meaning that he’s about as frightening as a basket full of kittens.Don’t believe me? Take a look at this clip from tonight’s episode to see his lack of ferocity for yourself!
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Who do you think will die on tonight’s Arrow finale? Excited to see Will get some action on Hannibal? Eager to see Jack McBrayer’s return to TV tonight on The Middle? Tell me everything in the comments below!
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Now that Shailene Woodley has been cast as the lead in the adaptation of John Green's bestselling young adult novel The Fault In Our Stars, the hunt is on to find her leading man. Woodley plays Hazel, a teenage cancer patient who meets a fellow sufferer in a cancer support group. Agustus is a videogame-loving ex-basketball player who lost his leg to osteosarcoma, and a complete dreamboat. The five young actors testing for the role aren't very famous, so we've rounded up their most well-known credits for you to figure out where you've seen them before.
If you're not hip to TFIOS, get on it. Time voted it the No. 1 book of 2012 — not YA book, all books. Stock up on tissues before you read. And if you are, here are the five young actors testing for Augustus this weekend, per Variety:
Brenton Thwaites, 24 Did you catch Lifetime's 2012 remake of the classic erotic teenage coming-of-age story The Blue Lagoon, Blue Lagoon: The Awakening? If not, then you probably haven't seen this Australian cutie unless you hail from his homeland, where he starred on the long-running soap Home and Away. But you will see him when he plays the Young Prince in the Angelina Jolie-starring fairy tale epic Maleficent, out next year.
Nat Wolff, 18 This star of the long-running Nickelodeon series The Naked Brothers Band played one of the titular bros (along with his real-life sibling, Alex). He appeared in the star-studded New Year's Eve, and plays one of the leads in Palo Alto, the dark drama based on James Franco's short stories.
Nick Robinson, 18 Robinson can currently be seen as Ryder Scanlon, the nephew of Melissa Joan Hart in ABC Family's sitcom Melissa &amp; Joey. On the opposite end of the acting spectrum, he also appeared in an episode of Boardwalk Empire and a few smaller films.
Noah Silver The Internet doesn't have much on this young actor, who we're assuming is French or French-Canadian (due to the multiple French-language credits on his IMDb page. He has three films set for release in the next year, though, including Jamie Marks Is Dead alongside Judy Greer and Liv Tyler and The Last Nights alongside Morgan Freeman and Clive Owen. You can also catch him in three episodes of Showtime's The Borgias.
Ansel Elgort Elgort's already got the advantage of working with his potential costar, Woodley, as her brother in the actress' other high-profile adaptation, Divergent. The stage actor makes his film debut in the new remake of Carrie, starring Chloe Moretz and Julianne Moore.
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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